Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument.Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

Before the WWII, Szczecin was a German city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a Polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December ’70, there were clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design. A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

We needed some foreground in front of the philharmonic hall and the church, so that we stayed there on the level of existing square. Former quarter is marked on the opposite corners by smooth uplifts of the square. One of them contains a museum and another one works as a hill, protecting square from the busy street. As a result, an amphitheatric space of the square was created. To receive a monolithic character of the whole design, we attributed one material – concrete – to it, so on the material division of the square floor go in elevation.

We needed some foreground in front of the philharmonic hall and the church, so that we stayed there on the level of existing square. Former quarter is marked on the opposite corners by smooth uplifts of the square. One of them contains a museum and another one works as a hill, protecting square from the busy street. As a result, an amphitheatric space of the square was created. To receive a monolithic character of the whole design, we attributed one material – concrete – to it, so on the material division of the square floor go in elevation.

Competition site didn’t included whole square, however, we decided to break it to give to the city an added value – a space, which gives brand new opportunities. Outline of the museum came from the competition site. Groundfloor is mainly the entrance zone, underground level is exhibition space.

Competition site didn’t included whole square, however, we decided to break it to give to the city an added value – a space, which gives brand new opportunities. Outline of the museum came from the competition site. Groundfloor is mainly the entrance zone, underground level is exhibition space.

Competition site didn’t included whole square, however, we decided to break it to give to the city an added value – a space, which gives brand new opportunities. Outline of the museum came from the competition site. Groundfloor is mainly the entrance zone, underground level is exhibition space.

Stairway to the exhibition space is the border between two worlds, due to blackness of the whole underground level. This idea came up during the realization, when it turned out, that we would not design the exhibition space. We were afraid of some overwhelming scenography, which pretends to be the past, so that we wanted to cut off from it by this move. However the authors of interior design asked us for consultation and, by then, a collaboration began. As a result, we rejected scenography and replaced it by art. At the same time historical museum became the museum of art.

Stairway to the exhibition space is the border between two worlds, due to blackness of the whole underground level. This idea came up during the realization, when it turned out, that we would not design the exhibition space. We were afraid of some overwhelming scenography, which pretends to be the past, so that we wanted to cut off from it by this move. However the authors of interior design asked us for consultation and, by then, a collaboration began. As a result, we rejected scenography and replaced it by art. At the same time historical museum became the museum of art.

Despite of the ban, we pushed trough a smooth flooring, best for riding and doing sports, therefore, while museum is closed, life still goes on on a square.Topography of the square encourages to skateboarding, skating or sledding. A square has preserved its symbolic character, this is still a place for annual ceremonies. City authorities started to use sloping surface of the square for openair concerts and summer cinema. Szczecin inhabitants understood, that this is their square and now they are gathering there to celebrate as well to manifest and express their opinions.

Despite of the ban, we pushed trough a smooth flooring, best for riding and doing sports, therefore, while museum is closed, life still goes on on a square. Topography of the square encourages to skateboarding, skating or sledding. A square has preserved its symbolic character, this is still a place for annual ceremonies. City authorities started to use sloping surface of the square for openair concerts and summer cinema. Szczecin inhabitants understood, that this is their square and now they are gathering there to celebrate as well to manifest and express their opinions.

Despite of the ban, we pushed trough a smooth flooring, best for riding and doing sports, therefore, while museum is closed, life still goes on on a square. Topography of the square encourages to skateboarding, skating or sledding. A square has preserved its symbolic character, this is still a place for annual ceremonies. City authorities started to use sloping surface of the square for openair concerts and summer cinema. Szczecin inhabitants understood, that this is their square and now they are gathering there to celebrate as well to manifest and express their opinions.

Despite of the ban, we pushed trough a smooth flooring, best for riding and doing sports, therefore, while museum is closed, life still goes on on a square. Topography of the square encourages to skateboarding, skating or sledding. A square has preserved its symbolic character, this is still a place for annual ceremonies. City authorities started to use sloping surface of the square for openair concerts and summer cinema. Szczecin inhabitants understood, that this is their square and now they are gathering there to celebrate as well to manifest and express their opinions.

name:

dialogue centre przełomy

authors of the square

robert konieczny

and building:

michał lisiński

authors of the competition

robert konieczny

entrance:

dorota żurek

katarzyna furgalińska

collaboration:

aleksandra stolecka

piotr tokarski

adam radzimski

joanna biedna

magdalena adamczak

authors of the exhibition:

piotr wysocki

roman kaczmarczyk

michał czasnojć

kwk promes

construction:

proeco

installations:

cegroup

investor:

national museum in szczecin

site area:

9577m2

usable floor

area:

2117m2

volume:

15845 m3

photographs:

jakub certowicz

juliusz sokołowski

jarosław syrek

awards:

nomination for mies van der rohe award 2017

world building of the year 2016 at world architecture festival 2016

winner of the completed buildings culture category at world architecture festival 2016

joint winner in the european prize for urban public space 2016

I prize in the architecture of a year 2015 competition in the category silesian architects export work 2016

honourable mention in the society of polish urbanists competition in the category best public space 2016

honourable mention in the competition for museum event of the year sybilla 2015